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ON FREE PUBLIC VIEW 
FROM 9 A.M. UNTIL 6 P.M. 


AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 


FROM TUESDAY, MARCH 3rp, 1914 
UNTIL THE MORNING OF THE DATE OF SALE 


PAINTINGS, DRAWINGS 
AND STUDIES 


BY THE ne 


FRANCIS DAVIS MILLET, N.A. 


TO BE SOLD 
AT UNRESTRICTED PUBLIC SALE 


AT THE AMERICAN ART GALLERIES 


ON FRIDAY EVENING, MARCH 6r7n, 1914 
AT 8.15 O’CLOCK 


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CATALOGUE 


OF THE 


FINISHED PAINTINGS 


DRAWINGS AND STUDIES 


LEFT BY THE LATE 


_ FRANCIS DAVIS MILLET, N. A. 


{TO BE SOLD 
AT UNRESTRICTED PUBLIC SALE 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH 


ON THE DATE HEREIN STATED 


THE SALE WILL BE CONDUCTED 


BY MR. THOMAS E. KIRBY, oF 


THE AMERICAN ART ASSOCIATION 
MADISON SQUARE SOUTH 
NEW YORK 
1914 


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CONDITIONS OF SALE 


1. Any bid which is merely a nominal or fractional advance 
may be rejected by the auctioneer, if, in his judgment, such bid 
would be likely to affect the sale injuriously. 

2. The highest bidder shall be the buyer, and if any dispute 
arise between two or more bidders, the auctioneer shall either de- 
cide the same or put up for re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the purchase 
money as may be required, and the names and addresses of the 
purchasers shall be given immediately on the sale of every lot, in 
default of which the lot so purchased shall be immediately put up 
again and re-sold. 

Payment of that part of the purchase money not made at the 
time of sale shall be made within ten days thereafter, in default of 
which the undersigned may either continue to hold the lots at the 
risk of the purchaser and take such action as may be necessary 
for the enforcement of the sale, or. may at public or private sale, 
and without other than this notice, re-sell the lots for the benefit 
of such purchaser, and the deficiency (if any) arising from such 
re-sale shall be a charge against such purchaser. 

4. Delivery of any purchase will be made only upon pay- 
ment of the total amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 
A. M. and 1 P. M., and on other days—except holidays—be- 
tween the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American 
Art Galleries, or other place of sale, as the case may be, and 
only on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, 
of any purchase during the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business 
in which the Association is in no wise engaged, and will not be 
performed by the Association for purchasers. The Association 
will, however, afford to purchasers every facility for employing at 
current and reasonable rates carriers and packers; doing so, how- 
ever, without any assumption of responsibility on its part for the 
acts and charges of the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the 
purchaser. Title passes upon the fall of the auctioneer’s hammer, 
and thereafter, while the Association will exercise due caution in 
caring for and delivering such purchase, it will not hold itself 
responsible if such purchase be lost, stolen, damaged or destroyed. 


Storage charges will be made upon all purchases not removed 
within ten days from the date of the sale thereof. 

7%. Guarantee is not made either by the owner or the Asso- 
ciation of the correctness of the description, genuineness or au- 
thenticity of any lot, and no sale will be set aside on account of 
any incorrectness, error of cataloguing, or any imperfection not 
noted. Every lot is on public exhibition one or more days prior 
to its sale, after which it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot 
correctly, and will give consideration to the opinion of any trust- 
worthy expert to the effect that any lot has been incorrectly 
catalogued, and, in its judgment, may either sell the lot as cata- 
logued or make mention of the opinion of such expert, who thereby 
would become responsible for such damage as might result were 
his opinion without proper foundation. 


SPECIAL NOTICE 

Buying or bidding by the Association for responsible parties 
on orders transmitted to it by mail, telegraph or telephone, will 
be faithfully attended to without charge or commission. Any 
purchase so made will be subject to the above Conditions of Sale, 
which cannot in any manner be modified. The -Association, how- 
ever, in the event of making a purchase of a lot consisting of 
one or more books for a purchaser who has not, through himself 
or his agent, been present at the exhibition or sale, will permit 
such lot to be returned within ten days from the date of sale, 
and the purchase money will be returned, if the lot in any 
material manner differs from its catalogue description. 

Orders for execution by the Association should be written 
and given with such plainness as to leave no room for misunder- 
standing. Not only should the lot number be given, but also the 
title, and bids should be stated to be so much for the lot, and 
when the lot consists of one or more volumes of books or objects 
of art, the bid per volume or piece should also be stated. If the 
one transmitting the order is unknown to the Association, a de- 
posit should be sent or reference submitted. Shipping directions 
should also be given. 

Priced copies of the catalogue of any sale, or any session 
thereof, will be furnished by the Association at a reasonable 
charge. 

- AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


FRANCIS DAVIS MILLET 


AN APPRECIATION OF THE MAN 
By SYLVESTER BAXTER 


“Well for him who leaves behind him a treasure of love, 
esteem, honor and admiration in the memory of men. Such enrich- 
ment is his gain in death; thereby he acquires the condensed con- 
sciousness of the whole earthly estimate concerning him, grasping 
in full measure the bushel of which in life he could count but a 
few kernels. This belongs to the treasure which we are to lay up 
in heaven.’”—Frcuner, The Little Book of Life After Death. 


FRANCIS DAVIS MILLET—Frank D. Millet, as his friends 
always spoke of him—was typical of the flower of American man- 
hood at its finest. Born in Mattapoisett, he came of the best of 
New England stock—Pilgrim and Old Colony, State of Maine. 

Millet is a Catalonian name; the English Millets are traced 
to France, and probably the French Millets came from the ancient 
Spanish province. So perhaps the exotic quality that many of 
Frank Millet’s friends noted in him may have filtered down 
through the many generations from the Mediterranean shore. 

- On his father’s side some of his ancestors went to Maine from 
the Plymouth country towns where his mother’s people had always 
dwelt; some went from Sandwich on Cape Cod, on the other side of 
Buzzards Bay across from the town where he was born on Novem- 
ber 3, 1846. As a boy at Mattapoisett he was a friend of Henry 
H. Rogers in Fairhaven, the next town. In later years he was 
a beloved intimate of the Standard Oil magnate, who enjoyed 
nothing better than to secure Millet’s company in his steam yacht 
Kanawha. His mother, a Byram, numbered John Alden and 
Priscilla among several Pilgrim ancestors. She had brilliant quali- 
ties from her Washburn maternity and she gave her eldest son 
her Washburn eyes, black and sparkling, instantly taking in many 
things at once. 

Frank Millet was companionable, lovable, quick-witted and 
congenial, scholarly, uncommonly talented, capable of doing 
extraordinarily well almost anything he chose to put his hands 
to; industrious and resourceful, democratic, on an equal footing 
with the humble and standing without self-assumption on a parity 


with the best in the land. He was of remarkable executive capac- 
ity; had he cared for it he might have made a success of almost 
any business he undertook; he had method without routine, the 
ability to plan and to carry out what he planned. 

So it was that in his open and above-board way he gained 
the confidence of many men standing high in the world, and was 
enabled to do many things of the sort best worth doing. His 
friends often wondered how it was that he was able to do so much 
and yet seem to have plenty of time on his hands ‘to do it in. 
It was largely because he knew how to organize his activities and 
to make the best of every moment. He knew not what idleness 
was. In that way he enjoyed life at its best and made the best 
of it, taking keen zest in pleasure as well as in work. Such a 
man was, of course, much sought socially. He cared nothing for 


society as such and his democratic nature despised the shams of - 


social convention. But he loved the companionship of the world’s 
best and the world’s best sought his company. For many of his 
friends he seemed to be all over town at the same time, and all 
over the world, for that matter—now in London, now in New 
York, now in Rome, now in Washington—and at home everywhere. 
Indeed, one of his nearest of kin, when asked where his home was, 
could not make assured reply as to whether it was in England, 
or New York, or Washington, or Rome. His. work was pleasure 
and his play was work; he made it a business to get the. best out 
of everything. He enjoyed himself with heart and soul and gave 
himself to his work in the same way, attending to everything thor- 
oughly and leaving no loose ends behind him. 

A nature like that is informed with the essence of perpetual 
youth. A veteran of the Civil War must be well along in life 
when the year 1912 comes around. But Frank Millet was one who 
could never grow really old; however advancing time had molded 
his figure, whatever lines it had graven upon his face, in bodily 
movement and play of feature he was ever active, replete with 
energy, responsive to wholesome fun and keen with mental stimula- 
tion. Youth ever sought his company and accepted him as one 
with themselves; and his contemporaries in age, as did his elders, 
always esteemed him a young fellow. In this regard one classes 
him with two of his old friends, “Jack” Low and “Ned” Morse— 
the late John G. Low of beloved memory and Professor Edward 
S. Morse—dear old boys in the truest sense—the latter with us, 
as long may he be! 

Frank Millet’s life was rich with achievement from the first: 
At Harvard he was high in his class, brilliant with the promise 


> ty Peat ene Se ath 


that he never afterwards belied. He was a Phi Beta Kappa man; 
in the Society’s rooms at Cambridge hangs one of the earliest ex- 
amples of his work in art: a decorative poster for some theatrical 
event. A handsome youth, he played girls’ parts to perfection 
at college. 

_ He was trained in newspaper work with his college friend, 
Royal Whitman Merrill, on the Boston Daily Advertiser, and be- 
-came-one of the traditions of an office that in those days was a 
school of good workmanship. There he laid the foundations of 
the literary technique in which he came to rank high, and for the 
skill in news gathering which made him one of the foremost war 
correspondents of recent times: in 1877 in the Russo-Turkish 
War—decorated several times by the Czar for bravery on the 
battlefield—and near the century’s end in the Philippines. 

‘His impulse to painting had been irresistible. While still doing 
newspaper work, in spare hours he worked at lithography in the 
‘Forbes establishment—a road to painting followed by not a few 
eminent men. J. Foxcraft Cole and Mark Fisher were both gradu- 
ates of that establishment. - On the walls at the Advertiser office 
hung for a long time two examples of Millet’s skill in drawing. 
One was a portrait of George Bryant Woods, of the Advertiser 
staff, a remarkable Shakespearian scholar and dramatic critic of 
high quality, who died in early manhood. The other was a litho- 
graphic head of Signora Morlacchi, a celebrated danseuse of that 
day. ; 

When Millet went to Antwerp to study painting at the Royal 
Academy of Fine Arts he at once became a great favorite with his 
professors. His room mates in Antwerp were George Maynard, 
from Washington, and Elijah Baxter, of Providence. Other par- 
ticular friends there were Alfred Copeland, Edward Champney, 
‘and George Weatherby, of Boston—the latter in London ever 
since the early seventies. Millet twice gained the highest honors 
for good work at the Academy. When crowned with laurel for 
excellence in painting the students organized a procession and 
_ marched with a band of their own to serenade him. Baxter, now 
at Newport, still treasures a leaf from that laurel wreath. One 
of Millet’s intimates at Antwerp was a young German, Otto 
Grundmann, whom Millet secured in 1876 as the first director of 
the School of Painting at the Boston Museum of Fine Arts. 

At Vienna in 1872 Millet had his first World’s Fair experience. 
He was still at Antwerp when he was appointed secretary of the 
Massachusetts Commission. The younger Charles Francis Adams 
was Chairman. They at once became close friends for life. 


Millet’s literary talent was so high that Howells, editor of the 
Atlantic when his first contribution came to the magazine in the 
middle seventies, urged him to give up painting and make litera- 
ture his vocation—assuring him a high name in it should he do so. 
Millet’s short story that brought him this compliment, the story 
of a little dog that in weird ways kept turning up on the trail of 
the writer, brought into the tale the element of mystery and 
romance in masterly fashion. It had the direct simplicity, blended 
with subtile imagination, that stands for the best of art. It was 
called “The Fourth Waits.” Millet’s other short stories were of 
like quality. They are collected in a volume called “A Capillary 
Crime and Other Stories.” His other books are “From the Black 
Forest to the Black Sea,” a delightful account of a canoe trip 
down the Danube; “The Expedition to the Philippines”; and a 
translation of Tolstoi’s “Sebastopol.” 

Millet was married in Paris in 1879 to Elizabeth Greeley 
Merrill, of Boston, a sister of his college friend. A younger 
brother of Mrs. Millet’s is William Bradford Merrill, formerly 
managing editor of the Philadelphia Press, of the New York 
World and now of the New York American. Augustus Saint 
Gaudens was in Paris at that time; his low relief of Millet, a 
replica of which is now in the Metropolitan Museum of New York, 
was made in March, 1879, probably as a wedding present. 

Millet was one of the first to discover the rare charm of the 
old English village, Broadway, in Worcestershire. A few years 
after his marriage he rented a place there and later bought 
“Russell House”; not long after he added to the property an 
ancient Priory next door. He took the same keen delight in faith- 
fully restoring it that some years before he devoted to reproducing 
for a studio an old-time Plymouth Colony interior at his father’s 
place in East Bridgewater. A studio, also, the more imposing 
Priory, furnished the setting for some of his most celebrated pic- 
tures. In the charming garden at Broadway, Mrs. Millet took 
unceasing delight and there she developed extraordinary skill 
in horticulture. This garden was the scene of some of John S. 
Sargent’s famous paintings, among them “Rose Lily, Lily Rose.” 
Russell House was the nucleus of one of England’s most famous 
artist colonies. 

After much distinction as a painter in England in company 
with artists like Sargent, Abbey, Alma-Tadema and Alfred Par- 
sons, Millet’s association with the expositions at Vienna and Paris 
led to a call to a responsible share in organizing the epochal 
Columbian World’s Fair at Chicago. As superintendent of deco- 


ration and master of festivities during the fair he originated the 
tonal scheme that made it the “White City”’—the name conferred 
by the late H. C. Bunner, the beloved editor of Puck in its best 
days. The mural decorations by Millet himself—the lunettes in 
the loggia of the Liberal Arts building and for the ceiling of 
the grand reception hall of the New York State building—were 
pronounced by architect McKim the highest achievements in that 
line at the exposition. McKim declared that there could be no 
doubt about it, Millet’s mural work marked him as America’s fore- 
most man in that field. This opportunity happily brought promi- 
nently into play the talents first exercised in 1876 when, as chief 
assistant to John La Farge in executing the earliest important 
mural work in this country at Trinity Church in Boston, he was 
responsible for some of the best qualities in the decoration. 
Millet had likewise a high talent in stained-glass design and is the 
author of an important window at the Harvard Memorial Hall, 
executed at about the same period. 

The late Frederick Law Olmsted, the designer of the Colum- 
bian World’s Fair at Chicago—still the greatest and best of ex- 
positions, though since surpassed in mere magnitude—was enthu- 
siastic about iMillet’s invaluable services there. Unfortunately a 
pictorial history of the Chicago Fair, to which Millet devoted ex- 
ceeding pains and many precious months, never reached publica- 
tion. The enterprise was wrecked by mercantile dishonesty. It 
would have been a historic record of the occasion that gave to 
American art its greatest impetus. 

The St. Louis Exposition would have been more of a credit 
artistically had its directors not perversely disregarded Millet’s 
advice. The management called him in for consultation; he took 
infinite trouble on their account, and was shabbily dealt with. 
Less equable men would have loudly protested, but he bore his 
treatment with characteristic philosophy. 

Millet’s initiative at Chicago established mural decoration in 
America as a distinct field of art. Mural painting as a calling 
by itself was unheard of in this country until he organized the 
work at Chicago and brought together a remarkable group of 
artists. For some years he did not reap for himself any of the 
fruits of the movement, being occupied at that period with activi- 
ties in Europe which kept him abroad most of the time. He might 
have had an opportunity at the Boston Public Library; a consider- 
able sum had been raised to decorate a room as a memorial to his 
friend Harry Codman, Mr. Olmsted’s young partner and associate 
at the Chicago World’s Fair. But Millet unselfishly represented 


that it would be better to use the money as a fund for establishing 
a Codman Library of Landscape Architecture at the Public 
Library. His advice was followed. 

When some years later he took up mural painting himself on 
an extensive scale his work splendidly justified the enthusiasm of 
McKim. Fine as his easel pictures are, it is as a great mural 
painter that his fame will last. His masterpiece is his monumental 
work for the Baltimore custom-house—a consummate development 
of a unique departure from the conventional traditions and one of 
the greatest achievements in decorative art on this continent. — 

These Baltimore decorations depict the evolution of naviga- 
tion: “Something different from the customary representations, 
such as-a group of young women in their nighties presenting a 
pianola to the city of New York,” as Millet remarked with char- 
acteristic native humor. A series in a similar vein intended for 
the New Bedford Public Library—depicting the history of the 
whale fishery—is lost to the world. Millet had given much thought 
to the scheme and with the happiest anticipations had looked for- 
ward to doing it. It seems as if the seed that was germinating 
in his mind with such beautiful promise must surely fructify in 
some way. 

Ever ready to serve the public and sacrifice his personal 
interests for much gratuitous work of that sort, Millet organized 
the American Federation of Arts for the National Academy of 
Art three or four years ago. He had been its secretary from the 
beginning. 

When Charles F. McKim founded the American Academy of 
Art at Rome, Millet was selected as one of the incorporators and 
served as secretary up to a few months before his death. Then, 
much against his inclination, at the earnest solicitation of J. Pier- 
pont Morgan—who, as fellow trustee with Millet at the Metropoli- 
tan Museum in New York, had conceived a high opinion of his 
executive capacity—he consented to become the Director of the 
Academy, together with the American School for Classical Studies 
at Rome, with the idea of reorganizing the work, affiliating or merg- 
ing the two institutions and housing them and their students in a 
way to place American prestige at the front among the several na- 
tional academies of other countries in the Eternal City. He gave 
himself to this work with all his best energy and enthusiasm and in 
the highest degree would undoubtedly have achieved the ends aimed 
at had his life been spared. It will be difficult to fill his place. But 
if the plans for the Academy should materialize the institution will 


be a lasting monument to his memory as well as to that of McKim, 
his friend and the founder. 

Millet once said that if he could choose his manner of death 
it would be to live his life in fulness to the end, then be shot in 
battle. In substance, he had his wish; his was a Hero’s death. 

Looking back upon the life lived with such rich measure of 
fair and good things wrought, one recalls the prophetic implication 
of the ceiling at Baltimore: The entrancing beauty of that vision 
of the most beautiful things that move upon the world of waters— 
ships under full sail, entering port amidst the perfect calm of an 
ideal summer sunrise, the blissful air informed with life and joy 
and peace in ultimate fulfilment. How goodly this world is— 
clothed as with a garment by the soft warmth of the early 
morning! 

For antithesis another picture: The calm of chilling waters 
when earthly life went out in mid-Atlantic under the starlit sky. 
After all, only the moment’s pang among the pallid icebergs. Then 
a white-souled company floats serenely home. 

Upon the long pennant of a noble ship in that home-coming 
fleet at Baltimore, modestly Premuaplouous, is inscribed the name 
“FD. Millet.” 


EPILOGUE 


Dear Frank: Over there in the Great Beyond, in the After 
Life, whatever it may be, we feel that somehow, in some way, you 
are yet with us, that your work here will go on to greater con- 
summations—yourself a part of it; and that our loving thoughts of 
you will draw you consciously to us; to the hearts that hold your 
affection, ever one with us in soul and spirit through all the trans- 
mutations of life everlasting. 

SYLVESTER BAXTER. 


SALE FRIDAY EVENING 
MARCH 6, 1914 


AT THE AMERICAN ART GALLERIES 


BEGINNING AT 8.15 o’CLOCK 


NOTE: The majority of the pictures have been surrounded by simple inexpen- 
sive frames, thus allowing the purchaser to exercise his own taste in using 
frames more worthy of the work. 


No. 1 


DETAIL STUDY FOR THE TREATY OF THE 
TRAVERSE DES SIOUX (Now in the Gov- 
ernor’s Room of the Capitol at St. Paul, Minn.) 


(Oil) 


ul ee Height, 10 inches; width, 9 i pree ee a7 : 
An Indian chief in a state of nature, his black hair 
tied at either side with yellow ribbons, gazes 
haughtily with piercing eye far to the left, behind 
the onlooker. Head and shoulders. 


No. 2 


DETAIL STUDY FOR THE TREATY OF THE 
TRAVERSE DES SIOUX 


(Oil) 


/ 5742 Height, 15 inches; width, 9 rbcage 
: YNPA 


Head and shoulders of a tawny chieftain, his back 
to the spectator and face in profile to the left. — 
His hair is decorated with a long feather and vari- 
colored trappings. 


No. 3 


DETAIL STUDY FOR THE TREATY OF THE 
TRAVERSE DES SIOUX 


(Oil): 


Height, 13 inches; width, 12 he 
V et ee 
en 


Eien 


An Indian chief of proud, st mien, looks 
calmly to the left, seen head and shoulders in pro- 
file. He wears the characteristic headdress of long 
feathers, the quills and brow-band painted in bright 
colors. 


No. 4 


DETAIL STUDY FOR THE TREATY Ge THE 
TRAVERSE DES SIOUX 
(Oil) 
GU = Height. 11 tahoe, wi, Se 


A lean-faced aborigine in profile~to the left looks 
afar, with head thrown well back and the expres- 
sion of accustomed command. Head and shoulders. 


No. 5 


DETAIL STUDY FOR THE TREATY OF THE 
TRAVERSE DES SIOUX 


(Oil) 


tg Ve F F oN ; Joe : 

; 7 it g Height, 18 inches; width, ayn Lae | 
| Two chiefs of the red men, one wearing on his head 

a bunch of red feathers and a long brown feather, 

the other a single long plume, are seen at half- 

length in their red blankets—one facing the ob- 

server, one looking slightly to the left. 


No. 6 


PEASANTS ON THE RUMANIAN SHORE 


(Danube Series) vy VEE Ly nts at Been 


é (Oil Sketch) 
s oe Height, 51% inches; length, 91. inches 


White-clad men to the number of half a dozen are 
walking up a sloping, broken field among rolling 
brown hills. One shades his eyes with his hand. 


Signed at the lower right, F. D. M. 


No. 7 


GARDEN IN VENICE a | | 
(Oil Sketch) Ven. Bre oe Sere 


wf ge Height, 1414, inches; width, 11 inches 


Sunlight illumines the corner of a yellow-walled 
building, and dapples the ground of a garden in 
the foreground where fall the shadows of entangled 
green trees. 


No. 8 


CAPRI—VESUVIUS IN THE DISTANCE 
(Oil Sketch) 
( 0 sae Height, 43, inches; length, @Y, inche > 
Beyond a foreground warm with yellow, green and 


brownish-red vegetation—with a white wall bright 
on the right—is a smooth, deep azure sea; and afar, 


under a sky of subtle tones, the outlines of Vesu- - 


vius appear in a vaporous chromatic mist. 


No. 9 


CAPRI FISHERMEN—STUDY FOR A LARGE 
PICTURE 
(Oil) 


A Height, 744, inches; length, 12fnches, 
A bold sketch with the masses blocked in and the 
colors recorded, depicting a number of fishers on 


their heavy, sturdy sailing-craft, under way through 
an indigo sea with a far mountain shore. 


No. 10 


VOIE DES TOMBEAUX, POMPEII 
(Oil Sketch) 


Hi sos Height, 12 inches; width, 114, Anches Beall 
KYUYN 


Under a gray-white sky with lavender-pink notes, 
and the blue cerulean visible aloft, are monumental 


tombs in white and colored marbles, and tall Italian ~ 


cypresses bending in a breeze. 
At the lower left is the title. 


FOsnre tw, 


ates ie Le 


| 


No. 11 


RED BUOY, VENICE 
(Oil) 


i oe Height, 6 inches; length, 9 inches .. ; Les 
A 


Glowing red and imparting its hue to the waters 
of the lagoon ahead of it, a huge anchorage-buoy 
floats in the foreground, white lateen sails and rosy 
walls of Venice seen beyond it. 


No. 12 


SAN GIORGIO AND SANTA MARIA, VENICE 
(Oil Sketch) 

Height, 434 inches; length, 111%, inche 
aes A: nnn AAV 
Beyond a stretch of blue and green water, colored 

by reflections, are the tall brick-red campanile of 

San Giorgio Maggiore and its adjacent red roofs, 

laid in against a veiled blue sky, and to the right 

are discernible the domes of the Salute. 


No. 13 


SAN GIORGIO, VENICE 
(Oil) 


ae Height, 5 inches; length, 1114 inches Vena 
— > 7) 
oo VIAV A 


In the foreground the waters of the bay are 
strangely green and blue and gray and red, beneath 
a sky as green and blue and gray, and across the 
vision comes the isle and buildings of San Giorgio 
Maggiore, the campanile a bright red, and in the 
distance the gray Salute. 


No. 14 
ROCKS OFF CAPRI—VESUVIUS IN THE DIS- | 
TANCE | 
(Oil) 
S 4 sae Height, 43, inches; length, BY inchg¢s [9 


/aA- 
Green-gray and purple-brown rocks with surfaces 
of velvet stand out in the shallows of a turquoise 
bay turned polychromatic in the vagaries of a 
Mediterranean sunset. Beyond the sea the hazy 
mountain. 


No. 15 


GRAY DAY—VENICE 
(Oil Sketch) 
/ Sb s4 nr Be Height, 8 incheszlength, 141% faches 
| TYn- | 
Under a heavy sky of lowering, cumbrous clouds, 
the impassive waters of the bay are a spectral green, 
dotted with shadowy forms of distant boats; and 
all is sombre, gray and still. 


No. 16 


SHORE BETWEEN HONFLEUR AND TROU- 
VILLE | 
(Oil) 


oO 4 ane Height, 4% inches; length, 11%“inchés O 
A gray-blue arm of the sea indents a greqn ang 


wooded shore, the white ripples of spent wavelets 
scalloping on the low, sandy reaches of the beach. 


No. 17 


VENICE—MEN SAWING WOOD 
(Oil—Panel) 


oe Height, 111% inches; width, 5 Be Oh rliieene 


Two men with a two-handled saw are sawing through 
a large pile or log laid across tall saw-horses, one 
man on the ground, the other atop of the log. Be- 
yond them the calm bay is turquoise-green. 


No. 18 


BRIDGE AT VENICE 
(Oil) 


3 A, ‘:. Height, 634 inches; le , 934 inches 
A gray, white and lavender- pink bridge, ade: 
brown in the shadows of its “ander-surface, spans a 
mottled green, blue and white canal, with gondolas, 


figures, lavender-rose walls and garden greenery on 
the farther side of the arch. 


No. 19 


WAYSIDE SHRINE, CAPRI 
(Oil) 


od i - Height, 121, inches; width, as ae Ke fae 


Set into a wall by the Lene in eae of a gar- 
den of green trees, a gray shrine surmounted by a 
cross is dappled with brilliant sunshine. 


No. 20 


BOATS—VENICE 
(Oil) 


8 ji Height, 13 aie sacle wi 101% fnches (3, 


Picturesque and ee with their remark- 
able canvas of red and olive-yellow and bluish-gray, 
several of the clumsy Venetian boats with lateen 
sails pointing skyward are seen in a line on the © 
colorful bay. 


No. 21 
PERGOLA—CAPRI . 
‘ (Oil) _ 1 | 
Height, 13% inches; width, 7Anches al 
ie yn. toh 


Round columns rising fan a low white wall sup- 
port a rustic arbor overrun by a luxuriant green 
vine. Between the columns comes the sunlight from 
a shimmering blue sky. 


No. 22 


PALM TREES—CAPRI 


(Oil) 
od ‘<— Height, 12 ee ae WO Li 

Tall palms lift their arching branches over lesser : 
foliage and gray and white sunlit walls, against a 


glowing azure sky which is seen beyond gray and 
green hills. 


ee 


No. 23 


BOATS—VENICE 
(Oil) 


3 4 ae. Height, 9%, inches; length, OU SL bia 
i. pre 


Several boats with sails up, their noses toward a 
shore of green trees, are lying close in line on a 
quiet day when the water is barely rippling, their 
red, gray, yellow and green canvas mottling the bay 
in chromatic variety. 


No. 24 
AT VENICE 
. | (Oil Sketch) 
Height, 14 inches; width, 12%, incheg W/ ait 
DEE me Yun VV dA tr 


A heavy two-masted brown sailing boat with a green 
rudder, her canvas lowered, rides on undulating 
green water in the sunshine. Her occupants shade 
themselves with pink and brilliant yellow awnings 
strung in the rigging. 


No. 25 


SHRINE ON CAPRI SHORE 
(Oil) 


| is Height, 18 inches; width, 1234 inches Ree oo ont. 
yas | 
1 


On a rocky promontory aes vocal | and 
stunted trees, a gabled shrine at a bend in the shore 
overlooks a sea which is a rich, bright blue in bril- 
liant sunshine. 


STREET IN VENICE 


39 


VENICE 


3 J be Height, 10 inches; leng h, 121, ies 


GATHERING GRAPES—CAPRI 


3 wae Height, 143, inches; width, 111% in 


No. 26 


(Oil) 
pedi Height, 11% i¢hes; width, 7 inches /} ; 


One of the by-ways of Venice¢{ narrow and stone- 
paved, between gray, damp-gyeen and brown walls 
reinforced by arches overhead. On high a slant of 
sunshine reveals a window-box or roof-ledge of red 
flowers. 


I 


No. 27 


(Oil) 


‘4 On. 
Houses white and gray, red and yellow, beyond a 


green flowering garden beside a narrow green canal, 
rise against a hazy blue sky. Three windows of 
a palace appear beyond the garden. 


SE LETT IN PLETE NEE DE O5R, ees emaN hs ae Tee a 


No. 28 7 


(Oil) 


High on a ladder a bare-legged man in white shirt 
and pale yellow trousers, his face in shadow of a 
small arbor, is plucking grapes from a vine which 
nearly reaches the roof. On the roof sheaves of 


ripe grain are piled against a parapet. 


COURTYARD OF THE VILLA NARCISSUS 


(Oil) 


§ A, fs a (oe Height, 9 inches; length, 14 inches 


KATWIK 


Pervaded by light and with scarcely a shadow ex- 
cept within an open doorway, the courtyard within 
mauve-gray walls is brightened by vines and hang- 
ing baskets and tall earthen jars of green plants. 
A stone stairway descends to it about a round 
pillar. , 


No. 30 


(Oil) 


( —ge_. Height, AY, inches; fength, 11%—inches f) 


It is after sunset, the sky is pale yellow and Dae 
above the horizon, and the shallow waters along a 
low indented coast reflect the grayish-yellow, fading 
blue and purplish-pink of the vaporous glow. The 
green landscape recedes into shadows without detail. 


At the lower left is Karwix— 


No. 31 


: STUDY—A FOURTEENTH CENTURY ATTIC 


(Oil) 


ae dy Height, 12 inches; width, & ay ae /» 
deo alee PVA Den beanie TL. 


A study in gray as well as architectural. The cor- 
ner of a gray room with gray arched walls, an open 
door revealing sunlight under the top of an arch- 
way beyond; greenish suggestions in a small-paned 
window and in a transom of tracery over a larger 
door of gray-brown. 


No. 32 
LANDSCAPE 


(Oil) 


OF ye Height, 7%, wane length, 121) inches - 


A vine-covered country church stands in a lawn | 
at the border of a blue pond. Rising against a 
brilliant sky, its shadow comes forward across the aa 
water. About are slender trees. 


No. 33 


ares re he 


STUDY OF A HEAD (Done in the artist’s student 
days) 
(Oil) 
/ pyrene Height, 12 inches; width//1¥, inches 


A large and strong-featured, confident gentleman 
of swarthy complexion, with high forehead and full 
brown beard and mustache, is portrayed head and 
shoulders in profile to the left. He wears an 

_ emerald-green costume with .a close-fitting narrow 
lace collar. Neutral ground. 


No. 34 


SWEDISH HOUSE, AALBORG 
(Oil) 


154 Ril Height, 12% VW, eae Shine Es Dagan t 3 | 
A house with red tile roof 4 exterior beams, the ; ; | 


ground story white, the upper story yellow, stands 
close in the foreground on an earthen court. A 
man is at work, a duck eyeing him. 

At the lower left, Aarsore, 8/14, 1882. 


No. 35 


COHASSET 
(Oil Sketch) 


one 0% Height, 834 inches; length, 1% nch 
peas Vy (BAA 


Under a pale blue sky with ohite and gray clouds 
a broad stretch of shallow sea rolls lightly, a low 
surf in the foreground, A sail and gulls well in- 
shore. 


No. 36 


RAMPARTS, VISBY GOTHEAD 
(Oil Sketch) 


Of — Height, 834, inches; length, 16%, inches W/ (x 

vr BL pe 

Gray-brown walls of ancient broken fortifications 

ramble on the far side of a green slope, skirting a 
hither border of the sea. 


No. 37 
OIL STUDY 


hs Height, 1414 inches; width, 11%, inches Ty y rae 
ees Pinpia~ Leet | oaega 
In a gray interior of heavy beams, with dull yellow 
relief, a stairway of three Beetiens with steps 
and rail in mahogany-brown—descends to a stone- 
paved floor. 


lS eee . eae ~ iy eee ; a4 aes 
- ae See ea aes 
4 bs he is . ae 


No. 88 
SWEDISH FARM 


(Oil Sketch) 


/ “A —".— Height, 91, Mehes ae inches 
re 


Beyond a patch o and a rail fenced, < 
grainfield extends to a pink house. In the distance 
is a windmill. 


No. 39 


SWEDISH CHURCH 
(Oi) 


ey 0 eee Height, 12%, inghes; length, 18 inches , /) : Wy, 
Gs 


* 


On a green knoll beside blue er a gray church 


stands amongst gray-green trd¢s and low, brown log 
outbuildings, in the sunshine... 


No. 40 


SWEDISH FARM : 
) (Oil Sketch) E 


sa a Height, 1134 inches; ake A I peelite t 
A red log-house At its nearby red barn, with a Pal 


foreground of trodden grass between them. From 
the porch a young woman looks out, some needle- 
work lying beside her. 


No. 41 


CLOVELLY SUNSET 


(Oil) 
BS: a ¢ | Height, 12%, inches; length, 1734 in 
Nestling under a high, deep-green i. t the 
water’s edge is a gray-white cottage on a low stone 
terrace, with boats hauled out beyond it and its 
lowly doorway banked-with blossoming vines and 
flowers. 


No. 42 
CLOVELLY 


y eae; Aan Cin__ 
a mottled-turquoise bay flecked with white, before 
encircling green hills. A boat with a red-ochre 
sail. In the foreground a gray stone and plaster 
cottage, at the shore end of a breakwater vari- 
colored by marine vegetation and weather. <A boat 
hauled out here at low tide. 


~~ (Oil) 
Height, 12 inches; Bay ey 


No. 43 


NEAR HONFLEUR 
(Oil) 


gv _———- Height, 12 inches; length, WE Bo g 
+d | wiih ugert 


Shadows from tall green trees make pointed pat- 
terns on the flat, grassy top of a bluff which over- 
looks a pale blue sea. Gray clouds fringed with 
white largely fill the light blue sky. 


STUDY OF ROCKS OFF COHASSET 


SHORE ROAD NEAR COHASSET 


COHASSET SHORE 


Lis 


No. 44 


(Oil) 
Height, 14 inches; es 20. inches 


en. 
Their heads weathered and gray—lifted always 
above high tide—irregular off-shore rocks séen at 
low tide display on their flanks the varied mossy 
greens of persistent aquatic life, and below, the 
rich mottlings of disintegration stained and modi- 
fied by corroded iron. 


No. 45 


(Oil) 


/ a Height, 22 inches Te Ble | 
A blue tidal inlet from a wide and shallow b 


i= 
sects the foreground of salt marshes. Alongside it 
a rutted marsh-road passes to the beach. 


No. 46 


(Oil) 
Height, 11%, inches; length, inches 


Under a strip of gray Sky at the high horizon t 

distant sea is turquoise-green, seen over the cliff- 
edge of a bold shore whose grassy crest slopes for- 
ward, the decline bordered by gray and rusty rocks. 


No. 47 


A CAPRI WATER-CARRIER 


(Oil) 


6 Ate Height, 1714, inches; ey) us 
ae Vy atin 


Stucco walls of subtle chromatic variance in sun- 
shine and shadow open to a vaulted passage reced- 
ing into gloom. Emerging into the light a dark- 
eyed daughter of Capri, a red amphora poised on 
her head, comes easily forward, looking straight- 
way at the spectator. Her bodice of rich dark blue 
encloses a white soft waist, and her old-pink skirt 
tucked up releases her bare feet. 


No. 48 


LANDING STEPS, VENICE 
(Oil) 


i 4 ee Height, 1834 inches; width, 13 inches 


A round-arched doorway in a battered warehouse 
wall whose red and yellow bricks have shed most 
of their gray outer garment. Before it on the 
green canal a sandola, with a rumpled mass of scarlet 
and yellow on its seat, and through the shadowed 
archway a glimpse of floral green and _ yellow, 
brought out by a slant of brilliant sunshine. 


+ ATR ENR SET TE 


No. 49 


AN ANTWERP KITCHEN Bi 
(Oil) , i ele. 


ee | 
a Sat Height, 1414 length; length, 1914 inches 


Gray walls and dark-beamed ceiling, and a floor of 
square red tiles. Dull copper and bright brass, and 
white and blue china on the mantel-shelf. Outside 
a window are light green trees, and in the dusky 
chimney-corner a glow is seen from the huge fire- 
place hearth. 


I CLT 


No. 50 , i 

STUDY OF THE ARTIST’S BEDROOM, ANT- : 7 : 

WERP i 
(Oil). 


v 
Sir cae Height, 17 inches; width{/14¥, inches 


AX - 
Mr. Millet’s own room in the Belgian city, its walls 
and draperies in neutral grays and browns; plaster 
casts and studies of the antique appearing at either 
side of a corner where a mahogany bed is opaey 
curtained off. 


No. 51 ~ 


THE ARTIST’S KITCHEN 
(Oil) 


[a' — Height, 20 Oey PETS 
Against a tall wall of ee and white tiles numer- 
ous utensils of highly polished brass and copper 
glow in lustrous quality, set upon a shelf or hung 


beneath it, above a red tile floor. A capacious cup- 
board holds porcelain and crockery. 


No. 52 


STREET CORNER, ANTWERP 
(Oil) 
ie ae foe Height, 20 inches; wi at “fy pte ruloacor 
A side door in a tall "eee brick building opens from 
a grass-grown stone pavement. Beside it is a shrine 


—a crucifix under a gable, the Christ over life- 
size, raised on a brick pedestal. 


No. 58 


SWEDISH KITCHEN 
(Oil) 


| 
ve Height, 1214 inches; length, ae sponte a | 
Hf ee Cty 


To the left a corner of a great ale is seen, with 
a kettle. Small windows straight in front admit 
light to the cozy interior of smooth, unpainted 
brown woodwork and furniture below, and rosy 
hangings above. In front of the window are green 
potted plants. 


Signed at the lower right, F. D. Miter. 


No. 54 


STUDY OF A HEAD (For the mural decoration 


‘‘Thesmophoria’”’ ) 
(Oil) 


Bl ee Height, 29, inches; length, 351%, inches Vs Elbe 


Head and shoulders of a dark-haired young man, 
nude with a white skin thrown over one shoulder, 
in the attitude of playing upon broken pipes. He 
wears a crown of oak leaves. Green background. 


STUDY 


ys erie wire Mis Height, 19 inches; width, oe ine ay 4 
A iieky man, swarthy of skin and aA aan hair, j 


7 


No. 56 
A GIRL OF CAPRI 
(Oil) 
iL Height, 1714 inches; width, 15 inches 
AV oe WwW: 


' Dark and lustrous-eyed, with jet-black waved and 


A TURK 


Sarg cc Height, 18 inches; le » 2174 imche 


Signed at the lower left, F. D. Mutter, 778. 


_—facing the right three-quarters front, with head 


Ea aa 
. aoe a 


No. 55 


(Oil) 


is painted head and shoulders—the shoulders nude | 


thrown back and blowing on a rustic flute. Dark 
green ground. 


flowing hair over her shoulders, a young girl of 
round, full and serious face is portrayed head and 
shoulders, turned to the left, her face almost full- 
front. She is in a restricted light, and the modeling 
and shadow-mottling of her features are carefully 
and sensitively studied. She wears a white waist. 


No. 57 


(Oil) 


A turbaned, black-bearded man clad An dark green, ; . 
white and rich red, is seated on a ru¥ in front of a | 
rug-draped wall, turned toward the right but with 
face three-quarters front, his hands clasped Bee 
his flexed knees. 


ie ee 


ee 


No. 58 


PORTRAIT STUDY (Nicholas: Murray Butler) ,.,. 
(Oil) 


Height, 1514, inches; width; 101% ing 
_. The President of Columbia in his black(gown stands 
at three-quarter length, turned toward the left, 
three-quarters front, his hands folded one over the 
_ other. His gaze is distant and intent. 


No. 59 


PORTRAIT OF SIDNEY DILLON 


i (Oil) ve ag [c 
: Height, 21 inches; width, 19 inches 


The well-known American is portrayed head and 
shoulders, against a dull, red-brown background, 
_ seated in a wooden-backed chair. 


No. 60 


THE GREEN GOWN 
(Oil) 
a ) 


. Height, 131%, inches; width, 104 inches i 
ee WN pd C 


Head and shoulders of a rosy-cheeked youn; ‘wom 
with chestnut hair waved over her temples wearing 
a green décolleté gown trimmed with green velvet. 


Dark olive background. 


No. 61 


AN ENGLISH PORTRAIT IN WHITE 
| (Oil) 

3 Ame o Height, 164%, inches; width, 91, bes. 
A. fair-haired, blue- English girl with rose- 
touched cheeks stands in an archway, leaning with 
one shoulder lightly against the woodwork. She — 
wears a figured lawn waist with low neck, and a 
white skirt, and looks straight before her. (Study 


for a large canvas retained in the artist’s English 
home.) 


No. 62 


STUDY OF A HEAD 
(Oil) .: 

fs Se Height, 12 inches; width, 934 inches - 

(es ve - YI vs 

A young woman in a low-necked gown is pictured 
head and shoulders, turned to the right, her face 
three-quarters front. Her rich mahogany hair is 
waved and abundant, her large eyes are placid, and 
she has sensitive nostrils and full lips. 


No. 63 
THE BLONDE—A STUDY 
(Oil) 


JO "< _ Height, 14 inches; width, 91/, jnches 


An incompleted study of the ned AGtender 
young woman with red-blond hair drawn low over 
one eye and twisted in a knot over the crown. 
Against a green background. | 


Can 


No. 64 


A SMILING BRUNETTE 


(Study in Oil) “2 Rlhe 
5 id) ae Height, 16 inches; 


width, 12 inches 


A dark-eyed young woman with a wealth of rich, 
dark: hair, facing the left, turns her smiling face to 
look over her shoulder in the direction of the spec- 
tator. Emerald ground. 


| No. 65 
PORTRAIT HEAD 
(Oil) 


v4 ) 0£  _ Height, 13 inches; width, 10 prohee f EL in 6 


A handsome young woman with downcast eyes, 
turned somewhat away from the observer so that 
her back at the shoulders is brought into view, and 
facing the right, has turned her head to look over 
her right shoulder where a band of her sleeveless 
gown crosses, and rests her right hand there. 
Painted in an oval. 


No. 66 


PORTRAIT 
(Oil) 


Height, 23 inches; width, 18 wach 
es uP Ets aba Be 


A young lady whose dark eyes have a bright luster 
is portrayed with shoulders nude against a back- 
ground of rich emerald hue. Her head is enwreathed 
in an affluence of dark, curling tresses and she looks 
directly at the observer, her head turned slightly 
toward her right shoulder. 


No. 67 
THE MIRROR (Unfinished) 


(Oil) 
ae, ce Height, 24 infhes; width, 20 inc 


In the street costume € som¢d/years back a yowag 
woman with reddish-brown hair stands beford an __ 
oval mirror which reveals her face to the spectator. __ 
Background, a green-papered wall. i 


No. 68 


AN OLD KITCHEN AT STANTON, ENGLAND 
(Oil) 


idee Height, 20 inghes; length, 27 inches (y ; 7 4 a 
A great old-time English kitchen far from Mr. 


Millet’s Broadway (England) home, the ceiling of 
huge hewn beams, the walls gray-plastered, and the __ 
floor of large flags. Light enters from a window at 
the right. In the corner is a wide fireplace. | 


No. 69 


AT THE WINDOW (A window in Mr. Millet’s home 
at Broadway, England) 


(Oil) | yee 7 
Gs v —- Height, 27 inches; width, 22/Anches 26 Los 


Young, fair-haired and coffely, a plump young 
woman with blue eyes and//pink cheeks has seated 
herself in the embrasure of an open window and 
gazes in pensive meditation at a small medallion 
portrait. She wears a loose white lawn gown, low 
at the neck. The window is flooded with sunlight 
and outside is seen a tangle of brilliant yellowish 
greenery. a 


No. 70 


PORTRAIT OF A DUTCHMAN (The last portrait 
Mr. Millet painted) 


(Oil) | 


1. Height, 26 inches; width, 20 inches if f 
i oe é Z Worth 


A sturdy burgher, clean-shaven but for a drooping 
sandy mustache, is shown head and shoulders, fac- 
ing the right, three-quarters front. He wears a 
high-crowned and _ broad-brimmed characteristic 
- Dutch hat, deep white rumpled collar and an 
emerald-green costume. Neutral background. 


Painted at Washington, PoC. LOL 1: 


No. 71 


ORIGINAL STUDY FOR THE TREATY OF THE 
TRAVERSE DES SIOUX (Now in the Gover- 
nor’s Room of the Capitol at St. Paul, Minn.) 


/bo% cn 
Height, 27 inches; length, 42 inghes | : 6 
The artist pictures the ceremony of signing the 
treaty as taking place under a canopy of leafy 
branches, erected on poles in an open country. In 
the background are the tepees of the red men in 
great number, and ahead of them on the farther side 
of the canopied space the Indian hosts are lined up, 


one chief mounted; and other distinguished chiefs 
are seated within the reserved space. On a platform 
a chief advances and shakes hands with the leader 
of the white men, while others are signing a parch- 
ment below, before a group of pioneers. The 
blankets and headdresses of the aborigines make 
the canvas rich and plentiful of color, and the 
number of figures represented befits the pictorial 
commemoration of an historical event. 


These are actual portraits of important chiefs of 
the West. 


On the back is written: “Sketch for historical picture ‘The 
Treaty of the Traverse des Sioux,’ painted for the Governor’s 
Room in the Capitol at St. Paul—F. D. Minuet.” 


No. 72 


THE MANDOLIN 
(Oil) 


a SJ ge Height, 20 inches; width, 16 inches 


In a carved-gilt and ed arphateee Ai Geye, : 
chair, a young lady with chestnut-brown hair and 
wearing a low-necked purple-velvet gown trimmed 
with delicate white lace, is seated at a round ma- 
hogany table playing a stringed instrument. Her 
music on the table rests against a pile of books be- 
side a jar of flowers. She faces the left, nearly 
three-quarters front. Neutral ground of subdued 
reddish-brown note. 


No. 738 


WANDERING THOUGHTS 
(Oil) 


eee, Height, 36 inches; width, 28 inches 
[tase ae a ee 
In the gray interior of an ancient stone church with 
stained-glass windows and carved pews, worshippers 
are seated, following the service with their prayer- 
books. In front is an aged woman in black, de- 
vout in her attention, while a handsome, pensive 
young lady, with pale hair sitting beside her in a 
_ white gown with a black lace shawl, fingers a rose in 

her opened book and looks absently in the observer’s 
direction. 

Signed at the lower right, F. D. Mutter. 

Exhibited at the Salon and reproduced. 


No. 74 


THE PROPOSAL 
(Oil) 


ay Height, 30 inches; length, 50 inches nr tte 


Before a white mantel in a Georgian room a stately 
young man in plum-colored coat and buff breeks, 
clocked stockings and pumps, is sitting on the edge 
of his chair reading a missive to his dark-haired in- 

-amorata, who is seated in receptive attitude and 
wholly at her ease in a winged armchair upholstered 
in flowered green brocade. Her pearl-gray décol- 
leté gown is encircled at the high waist by a pink 
ribbon girdle, and she lightly screens her attentive 
face with an ostrich-feather fan. 


Signed at the lower right, F. D. Mivtet. 


No. 75 


PORTRAIT OF WILLIAM WINTER 


(Oil) 


py Height, 40 inches; length, 50 Ce YW 
The well-known dramatic critic Ne author is de- 
picted at three-quarter length, seated and: turned 
slightly to the left, facing full-front with his head 
lightly inclined toward his right shoulder. His 
gray hair is characteristically tousled; his mus- 
tache is white. He is in black, with gray gloves, and 
rests with his right wrist on an arm of his chair,  - 
gripping the other chair-arm in his left hand with 
elbow flexed. 


Signed at the lower left. 


No. 76 


PEASANT GIRL OF THE BLACK FOREST 
(Pencil Drawing) 


/ "A, or Height, 4 inches; width, 334, inches 
VV NA 
A demure young girl with a quietly appealing eye 
looks out from beneath an enormous headdress whose 


wings far outspread her shoulders. Head and 
shoulders. 


Signed at the lower left, F. D. Miter. 


No. 77 


DONAUESCHINGEN GIRLS 
(Pencil Drawing) 
VA ore Height, 3% inches; length, 434 (3 
a. o v 
Two young women wearing long bonnets with broad Beenie 
ribbon-strings are sitting side by side with an open 
book before them, as in a church choir, one follow- 
ing the book’s lines and the other es her ES 
roam. 


Signed at the lower right, F. D. Mrtuer. 


No. 78 


WASHERWOMEN 

| (Pencil Drawing) 

/ Pym Height, 5 inches; length, 51, inches 
In the shallows of a river three peasant women 
stand ankle-deep or more, tables in front of them, 
doing the laundry. On land are more peasants, and 
a cottage rises above the sloping bank beyond them. 


Signed at the lower right, F. D. M. 


No. 79 


PEASANTS OF THE DELTA 
(Pencil Drawing) 


a in Pe Height, 8 inches; width, 8 Sees 1/ ES Liga 


Two sturdy men with trimmed beards and wearing 
bluntly-conical caps are walking forward toward 
the right, bundles slung on staves over their shoul- 
ders. Their expression is keen and alert. 

Signed at the lower left, F. D. M.. 


No. 80 


THROUGH THE CAUCASUS—THE SIGNAL 
WOMAN 
(Pen and Ink) 


1 64 
S 4 Height, 81, inchgy, width, 41% inche 
bin Vat 


A tall, flat-footed girl/of steady eye and level gaze 
stands holding a furled signal-flag in both hands. 
She wears a shawl around her head and a long cloak. 


Signed at the lower right, F. D. Mittiet. 


No. 81 
LUMBER RAFT | 
/ (Pencil Drawing) 
sade Height, 3 inches; Belg sp 


A lumber-raft piled fairly high abové the 
going down a broad stream, several figures aboard 
working long sweeps. Beyond is a wooded shore. 


No. 82 


BULGARIAN BOZAJI—BELGRADE 
(Pencil Drawing) 

/ f Poe Height, 7 inches; width, 5 ri 

A man in fez and sash is filling a ffankard from a 

spouted pot which he tilts with his knee, above a 

more capacious jar on the ground. A companion 

stands at either hand. . 


Signed at the lower left, F. D. M. 


No. 83 


' SERVIAN FISHING CANOES 
(Pencil Drawing) 


| Height, 24% inches; length, 8 inches fff 
7 | le PY : LA : 
On a smooth river before a sloping hillside-shore 


are several canoes, each with two occupants. The 
canoes are long, with high projecting pointed prows, 
and sterns broad and flat with an overhang—like a 
Thames punt. 


No. 84 


LOCAL FREIGHT FLAT-BOAT 
(Pencil Drawing) 


bao Height, 4 inches; length, 8 inches | f 
JO ty ee ee 
a 


The heavy craft lies low in a stream—the Danube 
—whose surface ripples with wavering reflections of 
the figures aboard. On the shore beyond are tall 
poplars and low hills. 

Signed at the lower left, F. D. Miter. 


No. 85 
AN ARK-BOAT 
(Pencil Drawing) 


OE Ears 

/ On a low freight boat of canal- Bat hfe a a 
deck-house has been built, with flat top, and hatches 
in the sloping sides. eoreral figures appear on 
board, with oars and sweeps. The shore beyond is 
wooded, and dotted with houses. 


Signed at the lower right, F. D. Mitzer. 


> Height, 31% inches; length, 914 ie YY 
waka 


No. 86 


THE FERRY 


(Pencil Drawing) 


7 3 Vs Height, 41, inches; ie oa 


Two big loads of hay, drawn by oxen and Vie o 

stand one before the other on a long flat-boat which © 

is seen broadside, being ferried across a stream. — 
Signed at the lower right, F. D. Mitzer. he 


No. 87 


TURKISH FLAT-BOAT 
/ (Pencil Drawing). : 
A, —— Height, 31, inches; length aaa 


Long, broad and heavy, oa a harbor freight- } 

car float, the Eastern craft is piled high with mis- — 

cellaneous cargo, two men aboard, on a quiet stream. 
Signed at the lower right, F. D. M. 


No. 88 


GOSSIPS—HUNDSHEIM 

(Pencil Drawing) 
if Q oe Height, 73, inches; width, of noe inches — 
Three peasant women are in the sei int an open 
space before a line of buildings. One carries a tub 
on her head, one a barrel-shaped basket on her 
back, and the third with arms akimbo 1 As telling them 
something. 


Signed at the lower right, F. D. Miter. 


No. 89 


PEASANT GIRL—THEBEN 
(Pencil Drawing) 


/ 3 6 Height, 6 inches; length, 11 inches ye 

Carrying strapped to her shod ee. nest of baskets 

or conical barrels, a pug-nosed peasant girl with 

_ spring in her step and supple body is walking cheer- 

fully up a hill. The “nest,” much longer than she is 

tall, projects far above and in advance of her head. 
Signed at the lower left, F. D. Miter. 


No. 90 


A FAMILY WASH 
(Pencil Drawing) 


. Height, 61 inches; length, a (3. (2 ; 
ee. ae 
C 


Up to her knees in a stream, Gee woman is 
bathing two small boys. Back of her on the bank 
are three men in front of a house. 


Signed at the lower right, F. D. Mutter. 


No. 91 


A CAMP—‘*THE COSSACKS” 
(Pencil Drawing) 


i vies —. -« Height, 4 inches; length, 7 em ner pd 
VL ct 
_ Along a line of poles or halberds thrust into/ the 


earth, a company of men are resting, seated or 
prone on the ground or standing in conversation. 
Their horses, unsaddled, are feeding or standing 
idly at hand. 


Signed at the lower right, F. D. Mixer. 


No. 92 


MUSIC ON THE MARCH—“THE COSSACKS” i. 
4! (Pencil Drawing) - 
/ oa Boh, 16 inches; width, 101% inches 


Mounted halberdiers marching in formation come 
forward four abreast, singing, the file leader keep- 
ing time with his shi 


Signed at the lower left, F. D. Miviet. 


No. 98 


LASSOING A TURK—“THE SACKS” 


/g Peat (Pencil Drawing) Jr: Tato 


Height, 41% inches; length, 1034 inches 


Out on a rolling field a mounted Cossack has over- 
taken a fleeing Osmanli, unhorsing him with his ac- 
curate lariat. The Turk has been dragged head- 
long backward to the ground, his mount galloping 
from under him. 


yA ae rp 
- A rf -. oy 5 


Signed at the lower right, F. D. Mixzer. 


THE AMERICAN ART ASSOCIATION, 
MANAGERS. 
THOMAS E. KIRBY, 


AUCTIONEER, 


COMPOSITION, PRESSWORK 
AND BINDING BY 


er ee Naan a ae NY — a a 


x 


|: 105.00 
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61. 35.00 
66. 45.50 
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7i. 130,00 
726 250.00 
730 1625.00 
The 850.00 
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92. 100.00 
93. 105 «00 
+69. 95.00 


Geo. Ww. Dickerman 


Wm. Te Hansen 


Mrs. E, Greble . 
fT. Williams 

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Se Hs. Vakeman 


ded —Semppett 
He R. Silvester 
i. Joseph 
W. T. Hansen 
Otto Bernet (Agent) 
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Otto Bernet (Agent? 
Mre Walters 
lire Waters 
James Hunt 
Mrse Ge Bacon 
A. WY. Evarts 
Mrs. G. Bacon 
bad *f + 
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Rohifs Gallery 
Le Ae Ripley 
iM. Josephs 
James Hunt 
The Clapp Graham Co. 
Century Association 


ens G. W. Dickerman 


Bayer’. Shea 
S. €. Hooker 


@. Villiams 
¥. T. Evans 


Miss B. R. Wellington 


Laurence Miller 


Mr. Waters 


+9 bid 


Mr. Yaters 
John F. Shea 


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55.00. Mres Ge Bacon . »: 
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$0.90 Rohlfs Gallery | : fs 
35409 lw Ae Ripley A Miu 
500090 ile Josephs 

20000 James Eunt 

45.90 The Clapp Graham Co. 

~ §040¢ Screed Association 


NEW YORK. 


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